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Grammy Museum’s Americana series with Texas Legend, Robert Earl Keen

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Grammy Museum’s Americana series with Texas Legend, Robert Earl Keen

By Jake Tully, Staff Writer
Contributor, Chris Isom
Photography – Adrienne Cohen Isom

In celebration of their Americana series, LA’s own Grammy Museum hosted none other than Robert Earl Keen, the consummate Texas troubadour gone Bluegrass and prototype of everything near and dear to Americana fans. In an intimate performance and conversation with MuisCares Vice President, Scott Goldman, Keen not only proved the mantle of roots music beloved by Townes Van Zandt, but reminded audience members alike that a humbled path of musicianship doesn’t go unnoticed.

Clad in his finest salmon sport coat, Keen spoke about his latest undertaking on “Happy Prisoner: The Bluegrass Sessions,” an Appalachian-intensive effort that had some early critics raising eyebrows at Keen’s direction of genre.

“Some folks yodel, but I won’t be doing any of that tonight,” he joked.

REK_cropKeen spoke to Goldman about viewing Bluegrass as a viable genre in both the realm of Americana and in his storied and diverse career. At this point in life, Keen who would have once been considered a Texas outlaw (and still should be today), is now comfortable under the umbrella of Americana. At times he has had encounters where he’s used the term to those unfamiliar and is often met with puzzlement. Trying to explain the genre, Keen cites Townes Van Zandt, Guy Clark, Terry Allen and Bill Monroe, until he lands on an artist someone might identify as “Country.” He then qualifies that in someway and goes on to say he doesn’t play “new” Country and leaves it at an agreement. Similarly,  Keen now explains that anything deemed “Bluegrass” needn’t be viewed as an outlier genre, as it draws from the same well as Country, roots and Americana.

“Outside of Jazz, Bluegrass is the most communal form of music I can think of,” he said.

Keen also tackled some myths and misconceptions about Bluegrass, making a point that it’s often unfairly deemed as the “bright and sunny cousin of Country.”

“Take the banjo,” said Keen. “It may produce some of the happiest noises but it’s usually always paired with some of the darkest lyrics around.”

In addition to elaborating on his latest record, Keen told tales of the road, his relationship with longtime friend and collaborator Lyle Lovett, and touring with Guy Clark and Townes Van Zandt. Keen’s reverence for the Texas music scene was prevalent in nearly every response he gave Goldman. Keen displays nothing but humility and deep appreciate for his Texas roots. There is nothing artificial about him – a man whose likeness is associated with the official recognition of Americana as a genre is nothing but authentic.

Following the interview and a slew of questions, Keen took the stage with his band. Happy Prisoner’s lineup includes Australian mandolin “champion” Kym Warner (a title well deserved) and the excellent dobro player, Marty Muse. The band played six songs in total, a smattering set from the newest album with a coda of “The Road Goes On Forever,” with an unexpected Bluegrass arrangement.

Perhaps one of Keen’s strongest suits is that the new material sounded as though it’s been part of his repertoire for decades. “Hot Corn, Cold Corn” was not only great song that featured creative percussive devices, such as a warped piece of metal roofing, but it came across natural to Keen.

The intimacy of the Clive Davis Theater highlighted Keen’s carefully crafted songs. Though only 200 people were fortunate enough to see him in this platform, Keen proved wax poetic on life and music. A true gentleman, a great interviewee and a supremely nice man, Keen may very well be one of the last great Texans.

grammymuseum.org  |  robertearlkeen.com

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